Kathryn Wright

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Kathryn Wright joined the Conservatory in 2002 and is a professor of voice teaching voice and performance skills. She is also a professor of music at Berklee College of Music and, since 1996, has taught private voice lessons, pedagogy, and performance and musicianship skills, as well as English diction and composition for classical voice. 

Wright, a soprano, has performed 20th-century music and new works, collaborating with many American composers. She sang the title role in Henry Mollicone’s Starbird (Kennedy Center), performed entirely improvised music theater works with the New Music Theater Ensemble (Minneapolis) and has sung premieres in England, Scotland, the Czech Republic, and the United States, including at the avant-garde music theater venue La MaMa (New York City), to New York Times critical acclaim. She has performed leading roles with regional opera companies, including Minnesota Opera, Texas Opera Theater, and the Hollybush Festival. She has appeared with 65 orchestras in the United States and Canada, including the Atlanta, Dallas, San Jose, Syracuse, Buffalo, Utah, St. Louis, Seattle, North Carolina, Charlotte, Minnesota, Milwaukee, Denver, and National symphonies. With San Francisco Symphony, she performed Berg’s Lulu Suite, with Edo de Waart conducting.

Wright’s voice students have won or placed in national and international voice competitions, held opera apprenticeships, sung in American and European opera theaters, and signed with New York artist management.

Career Highlights
  • Tanglewood fellow
  • Guest artist with Metropolitan Opera Guild, Chautauqua Opera, Central City Opera, Texas Opera Theater, Hollybush Festival, and Minnesota Opera
  • Numerous premieres and improvised music theater appearances with New Music Theater Ensemble, Minneapolis, National Chamber Orchestra, and Kennedy Center
  • Soloist with 60 orchestras in the United States and Canada, including Berg's "Lulu Suite" with San Francisco Orchestra
  • Premiered starring role in Mollicone's Starbird at Kennedy Center
  • Metropolitan Opera regional finalist
  • William Sullivan Foundation Award
In Their Own Words

"I bring enthusiasm and humor to the practical work of putting a voice together, of developing the vocal instrument. When students come into my studio, they want help with understanding and coordinating the mechanics of their singing, whatever their preferred style of vocal music is. My greatest satisfaction is when the student leaves the lesson excited at realizing new vocal potential. The look of surprise students' faces when beautiful, powerful new sounds come out of their voices and fly into the room is priceless to me."

"Technique is like the left hand of driving. Expressive singing is the right hand. You need both hands on the wheel to drive a successful musical performance. A healthy, reliable method of singing gives you the ability to be expressive in a free, unimpeded way, with a consistent, attractive tone quality through a large pitch and dynamic range."

"Unlike instrumentalists, singers must communicate not only through music, but additionally, through words. Singers are actors as well as musicians and must reveal the emotions behind the lyrics as well as the passion of the musical phrase. Good technical development is not an end unto itself. It is a means for empowering the singer to express those emotions freely and poignantly. I am interested in helping the student be empowered to reach their goals as singers and musicians."